Sammy Myers - Sleeping In The Ground & My Love Is Here To Stay

Sam Myers was an American blues musician and songwriter.
He was born in Laurel, Mississippi.  Myers appeared as an accompanist on dozens of recordings for blues artists over the past five decades, and fronted one of the top blues bands in the world.  He began his career as a drummer for Elmore James, but was most famous as a blues vocalist and blues harp player. Myers was in high demand for his authentic delta blues sound.  For nearly two decades he was the featured vocalist for Anson Funderburgh & The Rockets.
Myers acquired an interest in music while a schoolboy in Jackson, Mississippi and became skilled enough at playing the trumpet and drums that he received a non-degree scholarship from the American Conservatory School of Music in Chicago.  Myers attended school by day and at night frequented the nightclubs of the South Side of Chicago, meeting and sitting in with Jimmy Rogers, Muddy Waters, Howlin' Wolf, Little Walter, Hound Dog Taylor, Robert Lockwood, Jr., and Elmore James.  Myers played drums with Elmore James on a fairly steady basis from 1952 until James's death in 1963, and is credited on many of James's historic recordings for Chess Records.  In 1956, Myers wrote and recorded what was to be his most famous single, "Sleeping In The Ground", a song that has been covered by Eric Clapton, Robert Cray, and many other blues artists, as well as being featured on Bob Dylan's Theme Time Radio Hour show on Sirius XM.
From the early 1960s until 1986, Myers worked the clubs in and around Jackson as well as across the South in the Chitlin' Circuit.
He  found himself touring the world with Sylvia Embry and the Mississippi All-Stars Blues Band.
In 1986, Sam met Anson Funderburgh, from Plano, Texas, and joined Anson’s band, The Rockets.  Myers toured all over the U.S. and the world with The Rockets, enjoying a partnership that endured until the time of his death from complications from throat cancer surgery on July 17, 2006.

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Dr. Ross - One Man Band

Isaiah "Doc" Ross was a throwback to a bygone era; a true one-man band, he played harmonica, acoustic guitar, bass drum, and hi-hat simultaneously, creating a mighty racket harking back to the itinerant country-blues players wandering the Delta region during the earlier years of the 20th century. Born Charles Isaiah Ross on October 21, 1925 in Tunica, Mississippi, he took early inspiration from the music of Robert Johnson, Blind Boy Fuller, and Sonny Boy Williamson I; primarily a harpist -- hence his nickname "The Harmonica Boss" -- he only added the other instruments in his arsenal in order to play a USO show while a member of the Army during World War II. (The "Doc" moniker was acquired because he carried his harmonicas in a doctor's bag.) Upon his release from the military, Ross settled in Memphis, where he became a popular club fixture as well as the host of his own radio show on station WDIA; during his club residency he was witness to a number of brutal murders, however, and swore off appearances in such venues during the later years of his life. During the early '50s, Ross recorded his first sides -- among them "Chicago Breakdown" -- for labels including Sun and Chess; in 1954 he settled in Flint, Michigan, where he went to work as a janitor for General Motors, a position he held until retiring. In 1965 he cut his first full-length LP, Call the Doctor, and that same year mounted his first European tour; as the years passed Ross performed live with decreasing frequency, however, and was infamous for backing out of shows to catch his beloved Detroit Tigers on television. Upon winning a Grammy for his 1981 album Rare Blues, he experienced a career resurgence, and played festival dates to great acclaim prior to his death on May 28, 1993.

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Ray Charles & Fred Dunn - Ray Charles

Another low budget lp with 3 early Ray Charles tracks as a selling point but also with 7 tracks from Fred Dunn on piano.
Fred's boogie woogie recordings date from 1946 all recorded for the Signature label  in New York.
Don't know if they have been re-released on lp or cd before.
Thanks got to the person who left the correct track listing in the comments.
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Irma Thomas - Sings

The unrivaled Soul Queen of New Orleans -- a title officially bestowed by local officials, no less -- Irma Thomas ranks among Crescent City R&B's greatest and most enduring musical ambassadors, never enjoying the coast-to-coast commercial success of contemporaries like Aretha Franklin and Etta James but nevertheless breathing the same rarified air in the minds of many soul music aficionados. Born Irma Lee in Ponchatoula, LA, on February 18, 1941, as a teen she sang with a Baptist church choir, even auditioning for Specialty Records as a 13-year-old. A year later, she gave birth to her first child, marrying the baby's father and subsequently giving birth to another child before the union dissolved. At 17 she wed again, this time to one Andrew Thomas, having two more babies before she again divorced, all before the age of 20. Keeping her second ex-husband's surname, Thomas went to work as a waitress at New Orleans' Pimlico Club, occasionally sitting in with bandleader Tommy Ridgley. When the club's owner dismissed her for spending more time singing than waiting tables, Ridgley agreed to help her land a record deal, setting up auditions with the local Minit and Ronn labels. The latter issued her saucy debut single, "You Can Have My Husband (But Don't Mess with My Man)," in the spring of 1960, and the record quickly reached the number 22 spot on the Billboard R&B chart. However, Thomas accused Ronn of withholding royalties and after one more effort for the label, "A Good Man," she briefly landed with the Bandy label, releasing 1961's "Look Up" before relocating to Minit.
Thomas' first Minit release, "Girl Needs Boy," inaugurated a collaboration with songwriter and producer Allen Toussaint that would continue throughout her tenure with the label; although none of her six Minit singles were significant hits, each was brilliant, in particular 1962's "It's Raining" (memorably revived by filmmaker Jim Jarmusch for his cult classic Down by Law) and the following year's "Ruler of My Heart," reworked by Otis Redding as "Pain in My Heart." Imperial Records acquired Minit in 1963, and Thomas' contract was included in the deal. Her first single for the label, the starkly intimate "Wish Someone Would Care," capitalized on Imperial's deep pockets to vault into the Billboard pop Top 20, while its Jackie DeShannon/Sharon Sheeley-penned B-side, "Break-a-Way," proved a massive hit on New Orleans radio, later accumulating cover versions by singers from Beryl Marsden to Tracey Ullman. The follow-up, "Anyone Who Knows What Love Is (Will Understand)," was even better, a magnificent ballad featuring one of Thomas' most finely wrought vocals, but was not a hit. Likewise, its Jerry Ragovoy-penned B-side, "Time Is on My Side," had its fans, not the least of them the Rolling Stones, who scored a massive hit with a virtual note-for-note cover version. Thomas closed out 1964 with a pair of minor chart entries, "Times Have Changed" and "He's My Guy," both of them written by Van McCoy; for subsequent efforts including "I'm Gonna Cry Till My Tears Run Dry" and "The Hurt's All Gone," she even traveled to New York City to record with hitmaker Ragovoy, but despite the pedigrees of those involved, her commercial momentum dissipated, and following the chart failure of 1966's James Brown-produced "It's a Man's-Woman's World," Imperial terminated her contract.
Thomas next signed with Chess Records, traveling to Rick Hall's legendary Muscle Shoals studio Fame to cut 1967's "Cheater Man." Neither that record nor its follow-up, "A Woman Will Do Wrong Charted," had much success, but her third Chess single, a reading of Redding's "Good to Me," was a minor R&B chart entry in 1968. It was not enough to extend Thomas' relationship with Chess, however, and she spent the next several years outside the studio. In the aftermath of the devastating Hurricane Camille, she relocated her family to Oakland, CA, in 1969, later settling in Los Angeles. During this time Thomas supported her children by working at retailer Montgomery Ward, resurfacing on record with 1971's Cotillion label release "Full Time Woman." Later that year, she also issued "Save a Little Bit" on the tiny Canyon label, followed in 1972 by "I'd Do It All for You." Thomas returned in 1973 with "These Four Walls" on Roker, followed by three singles on the horribly named Fungus label: "You're the Dog (I Do the Barking Myself)," "In Between Tears," and "Coming from Behind." She relocated back to New Orleans in 1976, a year later issuing "Hittin' on Nothin'" and a re-recorded "Breakaway" on Maison de Soul; in 1980, Thomas surfaced on the RCS label with Safe with Me, an ill-conceived LP that sought to update her sound to approximate disco-era R&B. It was the last record she would make for six years.
In the interim, Thomas accelerated her live schedule. With husband/manager Emile Jackson, she opened the Lion's Den, a New Orleans club where she regularly headlined, and she also toured Europe, where her records still merited regular airplay. In 1985, she was approached by Rounder Records producer Scott Billington to make a comeback record. The New Rules appeared the following year, earning solid reviews and selling respectably. The Way I Feel hit stores in 1988, and with 1991's Live! Simply the Best, Thomas earned her first-ever Grammy nomination. The following year she issued True Believer, and in 1993 released her first gospel effort, Walk Around Heaven. She waited until 1997 to release her next secular record, The Story of My Life, blaming the delay in interviews on her difficulty in finding material appropriate to her age and sensibility. Thomas shifted gears radically for 1998's Sing It!, which paired her with devout fans Marcia Ball and Tracy Nelson; two years later saw the release of My Heart's in Memphis: The Songs of Dan Penn, with Thomas tackling both Penn classics ("I'm Your Puppet," "Woman Left Lonely") and original compositions. After the Rain, released in 2006, was nominated for a Best Contemporary Blues Album Grammy. Simply Grand was issued on Rounder Records in 2008, and featured Thomas in an acoustic setting accompanied by a host of piano players, including Dr. John, Ellis Marsalis, Randy Newman, and others.

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Geno Washington & The Ram Jam Band - Running Wild

The Ram Jam Band were formed around 1964 and evolved out of a group called Les Blues who were formed to rival an English group with a Black American singer called Milton And The Continentals. Before taking on Geno Washington, they had been backing a British Blues singer by the name of Errol Dixon. Their first single featuring Dixon, "Shake, Shake, Senora" / "Akinla" released on Columbia had sunk without a trace.
Geno Washington was a U.S. airman stationed in East Anglia who became well known for his impromptu performances in London nightclubs. In 1965, guitarist Pete Gage needed a singer front his new band and replace the previous singer Errol Dixon, and asked Washington to join and the latter was discharged from the U.S. Air force, he became the band's frontman.
They had two of the biggest selling UK albums of the 1960s, both of which were live albums. Their most commercially successful album, Hand Clappin, Foot Stompin, Funky-Butt ... Live! was in the UK Albums Chart for 38 weeks in 1966, and was only out-sold by The Sound of Music and Bridge Over Troubled Water.[citation needed] The other album was Hipster Flipsters Finger Poppin' Daddies. They had some moderate hit singles released by the Pye label: "Water", "Hi Hi Hazel", "Que Sera Sera" and "Michael (The Lover)".
They managed to build up a strong following with the crowds and due to their touring and engergetic performances. Like their Pye label mates and rivals, Jimmy James and the Vagabonds, they became popular with the mod scene.
The band broke up in the autumn of 1969 and the band members went their own ways while Geno Washington continued as a solo artist before returning to the United States.
Washington temporarily reformed the band between February and June 1971 with new band members Dave Watts (organ), Mo Foster (bass), Mike Jopp (guitar) and Grant Serpell (drums)
The band's name came from the Ram Jam Inn, an old coaching inn on the A1 (Great North Road) at Stretton, near Oakham, Rutland.

http://www.genowashington.com/

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Live Experience Band - Voodoo Chile

A couple of years ago I posted another LP from the Live Experience Band, still online, doing Hendrix as only stoned German(?) hippies can do it.
Someone at the time requested this LP but it's one that I forgot about then but here it is and better late than never. More fuzz, feedback and wah-wah.

side 1:
1. First trial of Star Spangled Banner/Purple Haze

side 2:
1. Voodoo Chile
2. 3rd Stone from the sun

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Cleo Page - Goodie Train Part 1 & 2

There is not much on the internet about Cleo Page so I've copied a review, written by Ian Harrison, of his lp that was released on JSP and P-Vine.

In these times of so much stuff being available at the click of a mouse, it’s refreshing to listen to someone properly mysterious. Like Cleo Page - absent from blues encyclopaedias, let alone the internet, he was apparently active in Los Angeles in the ’70s, and probably wouldn’t have liked strangers nosing into his business anyway. A gruff, to-the-point presence who likes his liquor and women, he sings as if recording these songs was an inconvenience to be got through quickly. It’s admirably idiosyncratic stuff, with the drummer keeping an eye on him to see what to do as Cleo plays a guitar homemade out of fence wire and shouts rough and boozy as someone else plays one of the less expensive organs in the Sears & Roebuck catalogue. An expressive singer prone to misery and anger – see Red Nigger’s mournful tale of drunkenness, marital pain and planning to gun down the new boyfriend his woman hasn’t even got yet - he also does mellow and benign, as on the possibly-carnal Roll Your Belly Slow, or Drinkin’ Wine, which sees him wino’ing across America before suddenly upping sticks for Moscow and North Korea. Page also did the super-tough 45 Black Man Too Tough To Die and a rude record we haven’t heard called Hamburger, I Love To Eat It. Anyone got a copy?. Ian Harrison

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Various - Condition Your Heart Vintage Rhythm And Blues From St. Louis

An excellent collection of rare tracks from:
THE KINGLETS, THE ROCKERS, LITTLE HERBERT AND THE ARABIANS, THE EMERALDS, FRED GREEN, IKE TURNER'S KING OF RHYTHM, CLAYTON LOVE, FONTELLA BASS, OLIVER SAIN, ART LASSITER, ROBERT T.SMITH

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Various - Mod Club Mojo Party

From 2005 a freebie cd from Mojo magazine that's perfect for the car.

1. Amen Corner - Expressway to Your Heart
2. The Contours - Just a Little Misunderstanding
3. Billy Preston - Billy's Bag
4. Rod Stewart & PP Arnold - PP Arnold
5. Timebox - Beggin'
6. The Quik - Bert's Apple Crumble
7. Tony Jackson Group - Fortune Teller
8. The Animals - I'm Crying
9. The Birds - Leaving Here
10. Ike & Tina Turner - I Can't Believe What You Say
11. Jimmy McGriff - All About My Girl
12. Phil Upchurch Combo - You Can't Sit Down (Parts 1 & 2)
13. The Small Faces - Get Yourself Together
14. Bettye Swann - Make Me Yours
15. Brenda Holloway - Every Little Bit Hurts

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Georgia Tom Dorsey - Come On Mama Do That Dance

Tom Dorsey, who recorded and performed under the name "Georgia Tom" for years, is remembered more now as the "Father of Black Gospel Music." As such, he wrote such Gospel standards for both black and white performers as "Peace in The Valley" and "Take My Hand, Precious Lord." These two songs have been recorded by many performers from Red Foley to Elivis Presley and beyond, and were favorites of Dr. Martin Luther King, Jr.  But before his religious conversion, "Georgia Tom" was a popular and prolific blues singer. Like many Southern musicians of blues and early rock 'n roll, he had a constant struggle with himself between his religious beliefs and his love for the "devil's music." Religion finally won out.
Certainly Tom Dorsey's gospel songs and performances are worthy of respect. It is his gospel music that probably has caused him to be one of the few blues performers included in the Georgia Music Hall of Fame. It is unfortunate, however, that his contributions to the blues before his conversion have been largely ignored or forgotten.
Thomas Andrew Dorsey was born in 1899 in Villa Rica, Georgia, the son of a minister. As a young man, he learned to play blues piano. The family moved to Atlanta in 1908, and he became a part of the burgeoning blues scene around Decatur Street. By the age of 12, he was playing at parties and brothels as "Barrel House Tom," and at the  Eighty-One Theater, were he met Ma Rainey and Bessie Smith.
In 1916,  Dorsey moved to Chicago where he studied music at the Chicago School of Composition and Arranging. After leaving school,  he worked for a while as a composer and arranger for the Chicago Music Publishing Company and as a music coach for Vocalion and Paramount Records. Then, in 1924, he formed a band for Ma Rainey called the "Wild Cats Jazz Band."

In 1928,  as "Georgia Tom," he teamed up with Tampa Red and recorded an enormously successful, very raunchy number called " Tight Like That."  In all, Georgia Tom and Tampa Red recorded more than 60 songs, and he also performed with other famous blues musicians like Big Bill Broonzy, Memphis Minnie, Victoria Spivey, and Blind Lemon Jefferson.
Ironically, at the same time that Dorsey's blues career was at its height, his gospel music was also gaining increasing popularity. By 1931, he was directing three large gospel choruses in Chicago, while continuing to  write and perform secular blues as well. But in 1932, his wife died in childbirth, and the baby died the next day. At that time, Tom Dorsey renounced the blues forever and dedicated himself to gospel music. He worked extensively with the great Mahalia Jackson in the 1930's and 1940's, and became the preeminent gospel blues composer and arranger of  his time.
Tom Dorsey died in Chicago in 1993 of complications of Alzheimer's Disease. But he is still recognized as a legend in Gospel blues and deserves to be remembered as "Georgia Tom" as well.

LP has not been filtered as it's almost mint. Hissing and crackles are from the original 78's.
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